APG Works Blog
Hilary Bower Framing Project
We’ve had the pleasure of working with Hilary Bower over the course of the past year or so. Bower is a textile and relief artist. She explores the ideas of mark making on reused surfaces and working further into them and adding other materials to accentuate the feeling of the absence.
Bower wanted us to develop a single framing design that could be used across the board with any of the pieces. We came up with a simple white deep rebate grainy frame, with the work floating in the centre on 5 mm foam core, with a 60mm acid free off white mount card and the frame fitting with a 19mm grainy spacer. The frames were all fitted with 2mm Krystall Superclear glass which has a lower iron content than standard glass, and so is clearer and has less tint.
A piece of Bowers work in the Framing Workshop
Hilary Bower’s solo exhibition, entitles ‘Silence, Space, Shadow’ is on at the Harley Gallery, Welbeck until 12th April 2015
Museum Standard Framing // Sam Winston, Gilbert & George and Alexander Calder
Sam Winston is artist who challenges the understanding of words, both in their meaning and the way in which they carry messages to us.
Gilbert Prosech and George Passmore formed the duo Gilbert & George in 1967, when they met while studying at Saint Martin College, London. Their distinctively formal dress code and manners took hold and they coined the slogan ‘Art for all’ and dismissed elitism within art. They produce brightly coloured, graphic- style photo based artworks.
Alexander Calder is one of the most influential sculptors and draughtsmen of the 20th Century. He pioneer the kinetic sculpture, which after joining the ‘Abstraction Creation ‘group in 1931, resulted in the birth of the ‘mobile’
Since Christmas we’ve been lucky enough to work on some beautiful original artworks by Alexander Calder, Sam Winston and Gilbert & George, held by the University of Sheffield Library Rare Books Department. For all of these frames we opted for one of the hardiest mouldings we have, which is a solid ash, deep rebate frame that we hand finish on site to a variety of natural colours using stains and waxes. Its hard and straight grain makes it a very strong dense wood, durable and long lasting. All of the materials used for these frames, were at the highest museum standard, including handmade cotton rag spacers and Anti-reflective, 99% UV blocking glass.
For people local to Sheffield, both the Gilbert & George and Sam Winston are currently on display at the University of Sheffield, in an exhibition entitled ‘Books that Trees would be Proud of’ on until 25th May 2015
Extract from The Guild // Five Levels of Framing
You have a choice about how much or how little you want to safeguard your picture. There are Five Levels of Framing for you to choose from as the following summary explains:
Museum - The ultimate protection for your artwork
Conservation - Helping preserve your artwork for future generations
Commended - Guarantees a degree of protection, with design playing an important part
Budget - Visually pleasing, but offering no long-term protection
Minimum - Putting economy first
We always discuss these options with you while designing your frame. Generally we stock conservation level materials across the board; however we look to cater for everyone!
Caring for your artwork when it gets home...
Ideally pictures should not be hung above radiators. Extreme or rapid changes in temperature cause paper and wood to dry out and adhesives to fail
Damp can cause pictures to ripple. If the ripples touch the glass, the picture might stick and be hard to remove. Damp also encourages fungal growth - likely to show as brown stains. Conservation framing can slow these effects, but it is always best to avoid hanging framed pictures in humid conditions. Allow six months before hanging pictures on newly plastered walls.
Use two hooks on the wall, each set about a quarter of the way in from either side of the picture. Check that the cord, wire or other hanger you use is designed to support the weight of your artwork. Where safety is critical, in children's bedrooms, for example, ask us about safer framing options, such as swapping glass for acrylic art screen. We also offer a full range of security fittings for more valuable artwork or frames in public spaces. When hanging your picture, you may notice a small cork disk stuck on to the bottom corners. These are applied so that air circulates around the frame without becoming trapped at the back, which helps maintain the correct humidity (lack of) in the picture.
Dust frames or treat with a soft brush, rather than risk applying water or cleaning fluids. Don't use cleaning fluids or water on the varnished surface of oil paintings; again dust carefully. If cleaning fluids have to be used on the glass, apply them to a duster first (rather than spraying the glass directly); take care not to let the fluids touch the frame.
If you find any evidence of discolouration, unsightly brown dots, small insects under the glass or that the brown paper tape sealing the back of the frame has come unstuck, return the frame to the framer. Check for corroding picture wire or weak or loosening cord. Oil paintings stretched over wooden bars may sag over time and the bars can make a slight imprint on the front of the canvas. Take the picture back to your framer for tightening or re-stretching. The Fine Art Trade Guild recommends inspection every five years
Out of the light
Try not to hang pictures directly opposite large windows as sunlight fades colours and discolours paper. Special UV-coated glass can help to slow this down. Our materials at APG are in line with the The Fine Art Trade Guild Standards. Ask us about the ways in which you can preserve your artwork in the long-term.
Handle with care
When carrying and transporting a picture, grasp the frame firmly on both sides. If you have to store pictures, make sure they are stacked vertically and the right way up. When stacking pictures, make sure you do this so that they are face to face and back to back, this will prevent the hardware on the backs of the frames damaging the fronts.
Framing Case Study: Piers Williams Frame
We've recently completed a new frame for an artist we often work with on screen printing projects, Sheffield painter Piers Williams. The frame, pictured below, is finished with gesso, gold, oil paints and a series of waxes all working together to compliment the artwork it surrounds.
APG’s Bespoke Framing // The Beginners Guild
At APG we make every frame to order - we don’t hold readymade frames in stock. We work in this way so that we know that every frame we make will be specifically designed to meet the needs of its owner, whether this be a large hand finished Ash frame for a gallery or a small frame for a treasured holiday postcard. Whilst most of the pieces we handle are prints, posters and original paintings on paper, we also handle other objects including tapestries, rugby shirts, objects, medals and much more.
There are many ways to frame a piece of artwork. These are 3 of the methods we use most frequently -
The mount card is used to create a border around the artwork; we do this by cutting a window in the centre of the board with a bevelled edge. Every mountcard is cut to size and is designed to compliment the artwork through variations in width, depth and colour. We sometimes use the expression of “giving air” to an image - visual space between picture and frame. There are several grades of mount cards, reflecting different levels of conservation. As standard we use acid free materials which are considered safe for general use in contact with your prints and posters, but for more highly valued pieces and original paintings, we recommend the use of museum grade conservation boards.
Close framing with deep rebate spacers
This is a great way of framing more contemporary work or if you are bit short for wall space. Close framing by itself is just putting your piece in a frame behind glass without mountcard, not good for the art if it is valuable as it touches the glass and unless there is a blank border, not a great look. But with a spacer, you get a simple and modern look that lends itself well to screen printing and more graphical work. It is a relatively new style of framing that has come into its own over the past 5 years.The design works by using a deep rebate moulding, first fitting the glass at the front of the frame, followed by a 6/12/19mm spacer and then the art and the backing boards. It is becoming a favourite, as it can still be made using conservation materials, and despite its petite look, with the artwork at the back of the frame it creates a surprisingly spacious look. And it doesn’t take up so much space on your wall if you are displaying a growing collection!
Float Framing with deep rebate mouldings and spacers
This style of framing is perfect for artwork with deckled or torn edges as it allows you to see all four edges of the piece. We firstly mount the artwork onto 5mm conservation foam core board, using archival tapes, which is then fixed onto an acid free mount card, allowing for a border of about 35 - 50mm. Now you have a beautiful piece of floating artwork, which is framed using a deep rebate moulding and a spacer to separate the glass and mounted piece.
These styles of framing are just a small selection of design options, so don’t feel put off if you’re still not sure of direction you’d like to go in. We are always available to go through designs and pricing at our venue down on Sidney Street, Sheffield. Feel free to call ahead and book an appointment or just pop in.
We are also are one of the only framers in Sheffield to hand stretch canvases. We have three different depths of moulding we can use for this. After stretching we also have a full range of framing options that can be discussed.